“It is, I suppose, a truism that the cinema is the
secular temple of modern life. A movie house is like a chapel, where one is
alone with one’s soul. Film intrinsically avows an afterlife by creating
immortals, stars. In its fixing of transient moments with permanence, it
bestows on even the silliest comic farce an air of fatalism and eternity. All
well and good. What I want to know is: Did I purposely seek out the spiritual
in movies in order to create a cordon sanitaire, to keep it from spilling into
the other facets of my life?”—Philip Lopate, “The Movies and Spiritual Life,”
in Getting Personal: Selected Writings (2003)
The image accompanying this post comes from the
winner of the 1988 Best Foreign Film Oscar, the marvelous Italian motion
picture Cinema Paradiso. Few films
have depicted so poignantly the hold that the dark, enclosed space of the movie
house has exerted in our collective dreams over the past century.
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